The Boom Box Post blog provides insights into the creative sound design process of Boom Box Post's owners and employees.
In the spirit of Halloween, we asked our interns, Jon Black and Lizzie Marcou, to design their own horror soundscapes! The assignment started out as a simple, loop-able Halloween soundtrack, but ended up with two incredibly detailed, narrative-driven soundscapes that tell two distinctly different stories. We’re excited to share Jon and Lizzie’s imaginative works with you. After you listen, be sure to learn about their process in the following interview!
This past summer, our interns Renata Schmult and Jennifer Bonilla were hanging new posters around the office and we found ourselves with an extra acrylic sheet from an old poster frame. Most wouldn’t give it a second thought before disposing of the piece of junk… but as they say, one’s trash is another’s treasure. For an ambitious sound editor and recordist like Renata, this lone acrylic sheet sparked other ideas. She bent, wrenched, wobbled, flapped and fumbled the acrylic sheet, excited by the expressive sounds she could produce of it. She planned out a list of recordings and brought the sheet into our new, sparkly, remodeled VO booth to see what she could record! Below are some of the sounds she achieved from the session!
We have a slew of new releases coming this fall that we’re beyond excited to share with you! It’s always one of the most rewarding times for us to see our hard work come together with the final, polished animation and get to watch it on our screens at home. There’s something for everyone in our 2026 fall portfolio; if you happen to check any of these out, please let us know in the comments!
Meet Boom Box Post’s newest interns, Jon Black & Lizzie Marcou!
If you live in California and work in the entertainment industry, you have almost certainly noticed a precipitous decrease in film and television projects seeking staff over the last few years. You have probably even been out of work for some or all of that time. Multiple factors are contributing to fewer projects getting greenlit than we have seen in decades. But, when projects are greenlit, we have also seen the majority of them slip through our fingers and land one by one in other states, regions, and countries with robust tax credits.
Our summer interns Jennifer Bonilla and Renata Schmult have just wrapped up their time with us here at Boom Box. It’s been such a pleasure having them both with us the past few months and we’re excited for their futures in the sound industry! We took a moment to chat with Jennifer and Renata to hear about their internship experience.
You’ve most likely heard it in some form or another: the tiny little beep before the start of a video production. The 2-pop is one of those post-production standard practices that is so simple, so old, and so deeply embedded in our workflows that it can be easy to forget just how important it is. It has survived the transition from film to tape to digital nonlinear editing and is still routinely exchanged between many of the post-production departments on any given project. But where did it come from, and why do we still use it?
Whether you're an avid viewer of Skybound Entertainment and Prime Video’s Invincible, or haven't watched a single episode, you may have heard recent buzz around one of the most brutal fight scenes of the series. "Give Us a Moment" aired a few months ago, and for days and weeks afterward I kept hearing from friends and even clients about how they couldn't shake the sights and sounds of the fight between Mark and Conquest. When I finally checked it out for myself, the gore exceeded my expectations.
Boom Box Post intern, Renata Schmult, is on a mission to expand her keyboard shortcut muscle memory! She drafted up some questions for an office-wide survey to learn about each of our editors’ favorite, most used and custom shortcuts for sound editorial work. In this post, we share the results and take a look at the similarities and differences of each editor’s shortcut workflow. We hope you learn a new shortcut or workflow tip from this post! Enjoy.
As vast as our sound effects library is here at Boom Box, we're still frequently faced with on-screen actions that can only be convincingly brought to life by recording original sounds. Last week, sound effects editor Brad Meyer was working on a project that had a hula-hooping scene. These hula hoops, in particular, were the bead-filled type that rattle with every movement. Brad tried everything in the library, from maracas, shakers, rain sticks, bean bags to pill bottles… nothing quite captured the sound convincingly. We put our intern, Renata Schmult, to work, tasking her with a hula hoop recording session to capture the authenticity of these hula hoops.
If you've spent a Fourth of July in Los Angeles, you know the city transforms into one giant fireworks show. For sound designers, it's also one of the best opportunities of the year to capture unique explosions, whistles, crackles, and distant booms for future projects. In this post we’ll take a listen to the ambience recordings I captured and how to process them to make them library-ready.
Meet Boom Box Post’s newest interns, Jennifer Bonilla and Renata Schmult!
As sound editors, we have our own vocabulary for describing the characteristics of the sounds we use in our work. We have our own terminology to describe pitch, timbre, frequency, weight, timing, and even emotion… Sometimes instead of using vocabulary we just replicate the sounds with our mouths… but when we’re discussing our sounds with other collaborators with different backgrounds we may need to reframe how we describe our sounds. As a fun exercise, I started exploring classic musical terms like legato, staccato, and crescendo through the lens of sound effects. In this exercise I researched the terminology and brainstormed sound effects that represent the terms. This exercise was a fun way to expand my musical vocabulary to better communicate sound with collaborators!
Fair warning, I don’t want this post to come across as just another mixer rant… and I’ll do my best to keep things civil. I’ve been keeping track of a few bad habits I see in editorial that drive me a bit batty on the mix stage. So in an effort to “being the change I want to see in the world, I’m going to share them with you. Hopefully this will result in less of these nits to pick going forward and, as a bonus, its free therapy for me!
There’s a powerful Pro Tools feature I’ve been using more and more in my editorial as of late and after chatting with other editors in the office I’ve realized it’s commonly overlooked. It’s using sync points when syncing your audio in the timeline!
What’s that sound? Summer is just around the corner! To get us in the summertime spirit, we brainstormed a few of our favorite summer sounds and either recorded, designed or pulled clips from our library to serve as clues for this crossword puzzle. Can you solve the puzzle using only your ears? Let us know in the comments!
Our spring intern Eli Bahner is finishing up his time with us here at Boom Box. It’s been a pleasure working with Eli this spring and we’re excited for what the future holds for him in the sound industry! We took a moment to sit down with Eli for a quick Q&A to hear his thoughts on his internship with us.
I recently handled a mix assembly for the first time and although on paper it’s a very straightforward process, it’s extremely detailed and can be quite time consuming. I consulted our Studio Engineer, Tim Vindigni for tips and he had just discovered that Pro Tools updated a feature in the Import Session Data window that’s extremely useful for the assembly process: Match Tracks! Let’s take a look at how it works.
ETHER is an electromagnetic field receiver — essentially a wide-band “anti-radio.” Rather than tuning to one radio station or frequency, it captures a huge swath of the electromagnetic spectrum (from very low to very high frequencies) all at once.
Essentially, you turn Ether on, wave it around, and it picks up all of the sound we can’t hear with the naked ear - WiFi Signals, radio transmissions, power lines, lighting. It brings magnetic fields and radio waves to light. WILD!
Boom Box Library is now hosting an enormous spring sale. Our entire Boom Box Library site is 50% off with code SPRING50.
That means that you can now get any single library for half price, or scoop up our Everything Bundle, and receive every library for just $175. That’s 50% off an already heavily discounted price!
Don't miss this chance to elevate your sound library at half the cost. The savings won't last, so stop by today.
